| Page |
Word/Term (Part of Speech in Context) |
Meaning/Explanation |
| 93 |
Portiere (n.) |
A large, heavy curtain hung across a doorway, in lieu of an actual door. A portiere would separate two rooms visually, but would not muffle sounds as a door would. Additionally, silhouettes would still be visible through the portiere. |
| 93 |
Commonness (n.) |
The quality of being crude, unrefined. Based on notion of “commonfolk”, or working class. Refers in this context to Stanley’s leaving the bathroom door open while he’s inside – a behavior that Blanche decides is unnecessarily crude. |
| 93 |
Executioner (n.) |
When Blanche calls Stanley “[her] executioner”, she means to suggest, hyperbolically, that his rudeness and hatred for her would drive her to her death. Denotatively, however, an executioner is not just any killer, but one that carries out a death sentence ordered by a higher authority. |
| 94 |
Settled [down] (adj.) |
To be “settled” is, simply, to be steadily married and employed. Mitch has been unable to become “settled” with a wife because of all the time he commits to taking care of his mother. Ironically, it is his mother who most wants him to find a wife. When he meets Blanche, he sees her as an opportunity for “settling”. |
| 95 |
Effeminate (adj.) |
An effeminate male is one who has unsuitable feminine qualities, which conflict with traditional male gender roles. Blanche remarks how, although her old lover had “a nervousness, a softness, and a tenderness which wasn’t like a man’s … he wasn’t the least bit effeminate looking.” Whereas his personality may have suggested some qualities that one might associate with homosexuality, her focus on his sufficiently manly appearance prevented her from realizing he was indeed gay. |
| 95 |
In the quicksands (exp.) |
Quicksand is loose, wet sand that “yields easily to pressure and tends to engulf any object resting on its surface.” As an expression, this suggests that one has entered suddenly into a situation from which they cannot as quickly or easily remove themselves. Blanche uses this term to describe the growing plight of her old lover, as he hid his secret of homosexuality. She also says that she began to “slip in[to the quicksands]” with him. (See picture 3) |
| 95 |
Locomotive (n.) |
A very loud, primitive style of train. The sounds of a nearing locomotive would grow loud enough to drown out speech, and prompt one to cover one’s ears (as Blanche does), until it had passed and the noises had gradually subsided. (See Picture 4) |
| 96 |
Polka (proper n.) |
A very lively dance style, originating in eastern Europe (just like Stanley!). A polka is very carefree, but also very frantic. The polka accompanies Blanche’s recollection of her lover’s last living moments before his suicide. |
| 96 |
Varsouviana (proper n.) |
The name of a specific polka composition. See previous entry. |
| 96 |
Major / Minor keys (n.) |
A song in a major key will generally sound happy, whereas one in a minor key will generally sound sad, angry, or stressful. The polka accompanying Blanche’s story begins in a minor key, before abruptly stopping and beginning once more in a major key. |
| 97 |
[Temperature 100] on the nose (exp.) |
An expression, meaning “precisely”. So, Stanley is saying that the temperature is precisely 100 [degrees Fahrenheit]. |
| 97 |
Her Majesty (proper n.) |
A third-person term of respect that one would use when speaking to or about a queen or empress. Stanley uses this in mock respect for Blanche, as he teases Stella for being so servile, as she brings Cokes to Blanche while she bathes. |
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